The Selection of Clausula Sources for ThirteenthCentury Motets: Some Practical Considerations
and Aesthetic Implications
By Susan A. Kidwell
In addressing questions of compositional process, scholars of medieval
polyphony have relatively little on which to build. They cannot gain insight from reading explicit written testimonies by medieval composers;
nor can they look to evidence such as sketches, drafts, or revisions for
guidance. Instead, they can only study theoretical accounts of how to compose good discant and examine the surviving pieces themselves to increase their understanding of medieval compositional process. l
Of all the surviving types of medieval music, the early Latin motet offers
perhaps the best opportunity to explore aspects of compositional process,
for the vast majority of early Latin motets were created in several observable stages. More than one hundred years have passed since Wilhelm
Meyer's pathbreaking report that many early motets originated with the
the addition of text to preexisting discant clausulae (Meyer 1898). While
Meyer'S discovery prompted an intense effort to identifY related motets
and clausulae (Ludwig 1910; Gennrich 1957; van der Werf 1989), other elements of compositional process were largely overlooked. Norman Smith
(1989) recognized this lacuna and drew attention to the process of converting clausulae into motets; in this paper, I shall focus on an earlier stage of
compositional process-the process of selecting clausula models to convert
into motets. In brief, I shall identifY factors that may have attracted medieval "composers" to select certain types of clausula models for early
Latin motets. 2 I shall then consider the extent to which their criteria for
selection apply to other segments of the thirteenth-century motet repertory. As I will show, the initial selection criteria not only reflected practical
considerations, but also had long-range aesthetic implications for the stylistic development of the medieval motet.
The surviving sources of Notre Dame polyphony indicate that the composers of the earliest motets did not indiscriminately add texts to all of the
approximately 950 passages of discant; instead, they focused their efforts
on less than twelve percent of the available repertory.3 To investigate potential criteria for selection, I compared a "motet group" of fifty-five
clausulae that were converted into motets with a "control group" of 103
clausulae that did not become motets. 4 The purpose of this comparison
was to look for possible stylistic differences between the two groups; if
© 2001 by the Trustees of
Columbia University
73
74
CURRENT MUSICOLOGY
64
found, significant differences could shed light on the process of selecting
clausulae to transform into motets.
The motet group contains both discant passages from organum (DP)
and separate clausulae (CL) that served as models for early Latin twovoice motets collected in manuscripts F and/or W2. Some of the clausulae
in the motet group were also turned into three-voice conductus-motets,
and many of them provided the basis for French contrafacta and/or later
thirteenth-century double motets. Clausulae that were originally converted into French motets were excluded from initial consideration because they seem to reflect different practical and aesthetic concerns.
The control group was selected from the first two series of two-voice
clausulae in the fifth fascicle ofF (Nos. 1-288), which contain the most recent and stylistically sophisticated clausulae in the manuscript. 5 Since sixty
of these 288 clausulae served as motet sources, it appears that the first two
series of clausulae were not only available to composers for conversion
into motets, but also generally suitable for texting. The same claim cannot
be made for clausulae 289-462, which tend to be earlier in origin, simpler
in style, and quite short in length (Baltzer 1995: xliv). Only the very last of
these 174 clausulae served as a motet source.
As shown in table 1, the motet and control groups are directly comparable because their members are based on a common stock of tenors.6 This
restriction attempts to minimize any stylistic variance that may result from
formal or harmonic features of the tenor. 7 In addition, all clausulae in the
motet and control groups are included in the Florence manuscript,
whether in the fifth fascicle or in the Magnus liber organi.
For the purposes of stylistic comparison, I shall focus on clausula features relevant to the texting process: the treatment of modal rhythm,
phrase organization in the duplum voice, and cadences in the duplum
and tenor voices. Significant stylistic differences between the motet and
control groups may indicate which musical features appealed to composers who converted clausulae into motets.
Since the choice of rhythmic mode in the tenor voice affects modal
rhythm and phrasing in the duplum, I will first consider the distribution
of clausulae by rhythmic mode in the tenor. As summarized in table 2, the
modal distribution varies between different groups of clausulae. Whereas
nearly seventy percent of all Notre Dame clausulae are built on unpatterned tenors, the control clausulae are more evenly distributed among
modal rhythmic classes. This discrepancy may be attributed to differences
in chronology as ascertained from stylistic evidence; whereas unpatterned
tenors in ternary or duplex longs dominate the earliest layers of the
clausula repertory, later clausulae, including those in the control group,
tend to exhibit more advanced stylistic features, including rhythmically
Table I
List of Clausulae in Motet and Control Groups
Tenor Tenor Text
Motet Number
Motet GrouE (source CL in F)
M1
M3
M5
M8
M9
M 12
M 13
M 13
M 14
M 14
Dominus
[Domi]ne
Manere
In Bethleem
Et illuminare
Et confitebor
Domino quoniam
In seculum
Nostrum
[Immo] latus est
43
60 (=61)
70 (=69)
98
101
110,112
131,140;133
141
215
230,232,233,234
M 15
M 17
M23
In azimis sinceritatis
Et tenuerunt
[Captivi]ta[tem]
244
248
307,308,309,310
M24
M25
M26
M27
M29
M29
M32
M34
Et gaudebit
Hodie perlustravit
Docebit
Amoris
Mulierum
Iohanne
Virgo
Regnat
313,322
337
344,345
360
369
379
411,414
437,439,442,443,444
No. 26
No. 41
Nos. 42-45
DP (l05r)
CL a3 (45r)
DP (139v); No. 71
DP (108v); No. 83
No. 90
DP (109r)
DP (109r); Nos. 103,
104, 101
DP (110r)
DP (111v)
Nos. 121, 122, 120;
DP (116r)
CL a3 (45v); No. 246
No. 135
DP (118v); No. 137
No. 140
DP (12lr)
No. 147
DP (l23r); CL a3 (l1r)
DP (126r); Nos. 172,
170,165,164
Control GrouE (related CL in F)
Nos. 27-35,227-28
Nos. 47-48
No. 49
Nos.
Nos.
Nos.
Nos.
Nos.
Nos.
57-58
67-70, 72, 231
78-82, 238
85-89,91-92, 94, 240-41
95, 242
98-99, 102, 243
No. 115
Nos. 123-27,248
No. 131
Nos. 134, 142,250
Nos. 138-39, 143
Nos. 141,252
No. 144
Nos. 146, 258
Nos. 151-54, 156,222
Nos. 167-69, 171, 173-76, 203,
268-69
IJl
c:;
rfj
z>
?>
~
t:I
:;::
t'i
t-'
t-'
-:r
(.y<
-:r
Table 1 (cont.)
M38
M40
M41
M45
M49
M51
M51
M53
M54
01
02
Ex semine
[Inquirien]tes autem
Domine
In odorem
Et sperabit
[Adju]torium
Etexaltavi
Et florebit
Quia concupivit
EtJerusalem
Tanquam
483
487 (=488)
490
495
505
516
517,518
524
529
632
635, 636, 643
016
018
BD 1
BD6
Eius
Adnutum
Domino
Domino
697
698
655
762
DP (129v)
DP (131v)
No. 184
CL a3 (45r)
DP (138r)
DP (139v)
CL a3 (45r); No. 283
DP (140v)
DP (l41v)
No.1
No.9; CL a3 (10v);
DP (66r)
DP (76r)
DP (76v)
DP (88v)
CL a3 (43r)
O"l
Nos. 181,271
Nos. 273-74, 276
Cl
c::
l':I
l':I
M
No. 187
Nos. 189-90
Nos. 198-99,201,214
No. 225
...,Z
s:::
c::
[JJ
...,
n
0
t-<
0
0
~
No.2
Nos. 10-13, 15-18
No. 159
....
O"l
SUSAN
A.
KIDWELL
77
Table 2
Modal Distribution of Notre Dame Clausulae*
Rhythmic Mode
(Tenor)
1
2
3
5
Unpatterned
Unclassified*
All Clausulae
37/950 (3.9%)
38/950 (4.0%)
14/950 (1.5%)
167/950 (17.6%)
650/950 (68.4%)
44/950 (4.6%)
Control Group
6/103
16/103
14/103
40/103
27/103
(5.8%)
(15.5%)
(13.6%)
(38.8%)
(26.2%)
Motet Group
7/55
6/55
4/55
30/55
8/55
(12.7%)
(10.9%)
(7.3%)
(54.5%)
(14.5%)
*Percentages in this and subsequent tables may not add up to 100 due to
rounding. Some clausulae have mixed modal patterns and could not be
assigned to a single modal category. In tables 2 and 3a, these clausulae are
represented as "Unclassified."
patterned tenors and more sophisticated phrasing in the upper voices
(Baltzer 1995: xlii-xliv). Differences between the control and motet
groups, however, cannot be explained in terms of chronology. These differences indicate that motet composers had a strong preference for
clausulae with patterned, fifth-mode tenors, and that they tended to avoid
converting clausulae with unpatterned or third-mode tenors into motets.
The reasons for these preferences will become more apparent after considering modal rhythm of dupla voices, aspects of phrasing, and cadential
patterns.
The degree of rhythmic regularity in the duplum voice of a parent
clausula has a significant impact on the nature of text declamation in the
offspring motet. For purposes of comparison, the extent of rhythmic regularity, or "modal purity," may be expressed as the percentage of ternarylong beats that have a regular modal division as opposed to beats with substitutions in the prevailing rhythmic pattern. For example, in the first
rhythmic mode, the strict alternation of longs and breves constitutes
"modal purity." "Modal impurity" can result from breaking or "fracturing"
the long into two breves, or from extending the long into a ternary long, .
which then substitutes for a long-breve combination. Table 3a summarizes
the distribution of motet sources and control clausulae by duplum mode
and indicates the average levels of modal purity (MP) and impurity from
fracturing (FR) or extending (EXT) the modal pattern. Following Apel
(1953) and Smith (1990), I will refer to the process of fracturing the long
in the modal pattern as jractio modi, and extending the long in the modal
pattern as extensio modi. 8
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CURRENT MUSICOLOGY
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Table 3a
Treatment of Modal Rhythm in Dupla Voices (overview)
MOTET GROUP
No. of Exx./55
Mode 1:
Mode 2:
Mode 3:
Unclassified:
39
6
8
2
(70.9%)
(10.9%)
(14.5%)
( 3.6%)
Avg. MP
Avg. FR
Avg. EXT
67.3%
76.7%
86.9%
10.8%
13.8%
9.0%
21.9%
9.5%
4.2%
Avg. MP
Avg. FR
Avg. EXT
58.5%
65.7%
86.6%
14.3%
28.0%
9.0%
27.2%
6.4%
4.4%
CONTROL GROUP
No.ofExx./l03
Mode 1:
Mode 2:
Mode 3:
Unclassified:
62
17
20
4
(60.2%)
(16.5%)
(19.4%)
( 3.9%)
The findings presented in table 3a reveal some interesting differences
between the motet and control groups with respect to modal rhythm. In
terms of overall distribution, the motet group has a larger proportion of
first-mode dupla and a smaller share of dupla in the second and third
modes than does the control group. This difference is certainly related to
the distribution of tenor modes, for first-mode dupla are often coupled
with fifth-mode tenors. However, additional factors may also be at work.
Focusing on clausulae with first-mode dupla, table 3b shows that the average modal purity level is higher in the motet group than in the control
group (67.3 vs. 58.5%). This discrepancy may indicate that composers preferred using clausulae with rhythmic irregularities rather than regular patterning as the basis for thirteenth-century motets. As I will demonstrate,
the rhythmic irregularities found in the motet group offered composers
greater flexibility with respect to text underlay, and this often resulted in
more varied text declamation.
As summarized by table 3b, high levels of modal purity are uncommon
among first-mode dupla in both groups; only four clausulae in the control
group and five in the motet group have consistently regular rhythmic patterning. The strictest instance of modal patterning occurs in a Regnat
clausula (no. 165) from the motet group, shown below in example 1. 9
This paradigm of first-mode rhythm served as the basis for Infidelem populum (motet no. 443). Neither it nor a related Regnat clausula (no. 164),
texted as Deus omnium (motet no. 444), experienced long lifespans as
SUSAN
A.
KIDWELL
79
Table 3b
Treatment of Modal Rhythm in First-Mode Dupla
MOTET GROUP: 39 Clausulae with First-Mode Dupla
High MP (>80%):
Moderate MP:
LowMP «60%):
No. of Exx./39
Avg. MP
Avg. FR
Avg. EXT
5 (12.8%)
24 (61.5%)
10 (25.6%)
86.8%
70.2%
50.7%
9.1%
11.6%
9.6%
4.1%
18.2%
39.8%
CONTROL GROUP: 62 Clausulae with First-Mode Dupla
High MP (>80%):
Moderate MP:
Low MP «60%):
No. of Exx./62
Avg. MP
Avg. FR
Avg. EXT
4 ( 6.5%)
30 (48.4%)
28 (45.2%)
83.4%
68.8%
43.9%
5.6%
14.1 %
15.9%
11.0%
17.2%
40.2%
motets. They were both converted into two-voice Latin motets but, as far
as is known, were never used as the basis for French or double motets. lO
Only three other clausulae with high levels of modal purity were transformed into motets. Interestingly, all of them originated as three-voice
conductus-motets but also survive in two-voice reductions. ll
Clearly, selecting clausula sources with high levels of modal purity (coupled with regular phrase lengths) and then underlaying the motet text in
a syllabic fashion would have resulted in very regular text declamation,
which might have appealed to motet composers who wanted to emulate
the poetic regularity of the conductus,12 The composer who underlaid the
text Infidelem populum to the modally pure clausula source presented above
as example 1 achieved this result. One can readily observe similarities between the texts to this motet and the conductus, Auctor vite, given below as
example 2;13 both have regular line lengths and regular accentual patterns
at the ends of lines, making them good examples of "rhythmic" poetry
(defined by syllable count and final accent, as opposed to "metric" poetry,
defined by regular scansion according to patterns of long and short syllables known as "feet"),1 4 In example 2, both motet and conductus texts feature predominantly seven-syllable lines and regularly recurring proparoxytonic accents on the antepenultimate syllable of each line. This pattern is
represented as "7pp."
Another way to achieve regular patterning would have been to underlay
text in a neumatic fashion to music with high levels of fractio modi. However, as discussed below, this approach was much more typical of French
motets than of early Latin ones. With respect to the early Latin motet, it
80
CURRENT MUSICOLOGY
64
Example 1: High modal purity in CL no. 165, Regnal (M 34); F, fo!' 166r-v.
--,
,.--,
appears that after some initial experimentation, composers came to prefer
using clausula sources with greater rhythmic contrasts. This shift in preference marks an important step in the emergence of the Latin motet as a
genre characterized by irregularities of design and therefore distinct from
the more patterned style of the conductus.
As shown in table 3b, both the control and motet groups have a large
portion of clausulae with moderate levels of modal purity, ranging from
sixty to eighty percent. Although the twenty-four motet sources in this
moderate range have slightly higher levels of modal purity than the thirty
"moderate" control clausulae (70.2 vs. 68.8% on average), the "moderate"
motet sources still feature more instances of extensio modi than the control
clausulae (18.2 vs. 17.2%). A passage from clausula no. 101, shown below
as example 3, typifies the style of the "moderate" motet sources. 15 As I will
SUSAN
A.
KIDWELL
81
Example 2: Comparison of motet and conductus texts.
a) Motet, Infidelem populum (443); F, fo!' 403r
Infidelem populum.
Haman ad patibulum
Suspenditur proprium.
Apprehende gladium.
Frange manus hostium.
Veni in auxilium
Naufraganti seculo
Et populo fidelium.
Iebuseos eice
Nos respice per filium.
7pp
7pp
7pp
7pp
7pp
7pp
7pp
8pp
7pp
8pp
b) Conductus, Auctor vite; F, fo!' 270v
Auctor vite virgine
Natus mori voluit
Sub sacci velamine
Quem pro reis induit.
7pp
7pp
7pp
7pp
Cuius vita lectio
Nobis et instructio,
Nos pro vite precio
Mundo mori docuit.
7pp
7pp
7pp
7pp
Ut surgamus oritur,
Ut vivamus moritur,
Celi pandens aditum,
Conpensemus igitur
Ut quod nobis creditur
Persolvamus debitum.
7pp
7pp
7pp
7pp
7pp
7pp
illustrate, the shifting rhythmic patterns made it possible for composers to
underlay text in order to underscore units of text through contrasting
rates of text declamation.
Differences between the motet and control groups are even more striking when one considers the substantial number of clausulae from both
groups with low levels of modal purity. Of the twenty-eight control clausulae with low levels of modal purity, there are nineteen pieces in which extensio modi constitutes the principal component of modal impurity. In the
motet group, eight of ten pieces with low modal purity feature significant
amounts of extensio modi. The effect in such compositions is that the duplum voice moves in a mixture of first- and fifth-mode rhythms. Whereas
clausulae in the motet group tend to alternate between longer passages of
first-mode and ternary-long rhythms that allow for contrasting rates of text
82
CURRENT MUSICOLOGY
64
Example 3: Moderate modal purity in CL no. 101, [ImmolLatus est (M 14); F, fo!' IS8r.
La
.
I::: ~ ::~ ~-: ~_ ~-~:; ::~ : : - ,:;:~
tus
SUSAN
A.
83
KIDWELL
declamation, ten of the control clausulae with high levels of extensio modi
have significant numbers of single ternary longs followed by ternary-long
rests. Individual ternary longs followed by rests would have presented difficulties for text underlay because they would have disrupted the semantic
flow with their hocket-like effect; thus, composers generally avoided converting clausulae with isolated ternary longs into motets. Alpha bovi et leoni
(762) represents one notable exception. As shown in example 4, the composer of this motet underlaid isolated ternary longs present in the clausula
source with the monosyllabic exclamation "0," which also reinforces the
vowel sustained by the "[Benedicamus] DO-mino" tenor.
The control group also includes seven c1ausulae with exceptionally
high levels of fractio modi. Example 5, a passage from clausula no. 12,
illustrates this approach. This Tanquam c1ausula, from the Christmas
Responsory Descendit de celis (0 2), has fractured rhythms on seventy
percent of its beats. Substantial amounts of fractio modi would have
presented difficulties for the predominantly syllabic approach to text
underlay characteristic of the early Latin motet. Thus, the motet group
has consistently lower levels of fractio modi on average, and has no member
with more than 37.5% of its beats fractured. Apparently, composers only
Example 4: Isolated ternary longs in Alpha bovi et Leoni (762) / Domino (BD 6), mm. 21-40; F,
fo!' 407r.
21
gi - gan-ti
ge - mi - ne
-
o
0
o
o
o
28
o
35
i
-
gni,
nim
phe,
gra
no,
tra
-
mi - ti
pIa -
no,
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CURRENT MUSICOLOGY
64
Example 5: Highfractio modi in CL no. 12, Tanquam (0 2); F, fo!' 147v.
Tan
quam
avoided high levels of fractio modi when converting clausulae into early
Latin motets, in which the predominant method of text underlay was syllabic; clausula sources for French motets often have significant amounts of
fractio modi. I have argued elsewhere that composers of both clausulabased and newly composed French motets tended to underlay their texts
in a more neumatic fashion in order to achieve greater regularity in text
declamation (Kidwell 1996).
SUSAN
A.
KIDWELL
85
Some of the observations about clausulae with first-mode dupla shed
light on the use of clausulae with second- and third-mode dupla as sources
for early Latin motets. In general, second-mode clausulae often have significant amounts of jractio modi while third-mode clausulae tend to be
modally pure. Since composers avoided selecting first-mode clausulae with
heavily fractured modal rhythms or with high levels of modal purity, it
comes as no surprise that they used only a limited number of second- and
third-mode clausulae as models for early Latin motets.
Clausulae with second-mode dupla made up 16.5% of the control
group but only 10.9% of the motet group (table 3a). On average, the
second-mode clausulae in the motet group have higher levels of modal
purity than those in the control group (76.7% vs. 65.7%) due to considerably lower levels ofjractio modi (13.8% vs. 28.0%). It also seems significant
that none of the clausulae in the motet group has fractured rhythms on
more than 18.5% of their beats. This once again supports the hypothesis
that composers of early Latin motets found high levels of jractio modi problematic for texting because of their preference for syllabic text underlay.
Conversely, high levels of jractio modi did not deter composers from converting heavily fractured clausulae in the second rhythmic mode into
French motets any more than it hindered them from selecting heavily
fractured clausulae in the first mode as French motet sources.
It is also striking that composers avoided converting third-mode clausulae into motets. Almost 20% of the clausulae in the control group are in
the third rhythmic mode compared to less than 15% of those in the motet
group. While clausulae with high levels of modal purity were avoided
throughout the motet group, the rhythmic pattern of mode 3 would have
presented special problems for composers of early Latin motets, who generally underlaid texts to preexisting clausulae in such a manner as to have
poetic accents coincide with musical ones.l 6 Since the rhythmic pattern of
mode 3 begins with two accented notes, it requires the text underlay of
two adjacent accented syllables. The composer of Ad veniam per veniam
(635) came up with an ingenious solution: as shown below in example 6,
he started most lines of text with either a one- or a four-syllable word,
which allows for correct text declamation in the third mode.l 7
Having focused on the rhythmic articulation of individual beats, I will
now consider overall phrase organization in the duplum voice, and its effect on text structure. As with modal purity, significant differences between the source and control groups with respect to phrase organization
support the hypothesis that composers were aware of stylistic attributes
suitable for texting and chose their source clausulae accordingly. As summarized in table 4, clausulae that were converted into motets are generally
longer (as measured in ternary-long units) and have more phrases than
clausulae that did not become motets. In addition, those clausulae in the
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CURRENT MUSICOLOGY
64
Example 6: Third-mode text underlay in Ad veniam perveniam (635) / Tanquam (02); W2,
fol. 145r.
Ad
ve-ni - am
per - ve-ni - am
si
ve-ni - am
cum
o-Ie-
Tan
0,
quod
se-de
-
et
0
ca-ve
-
se - du-lis
0
o - eu-lis
15
am;
si
am
som - pni-que
pro-cui
ad
mo-ve-
cor - ri-tuf
ad
gra-ti-
22
et
a - pe-ri
vi-gil
Nam
am.
,--
29
con - se-quor
ad
glo-ri - am.
Si
ve-ni
am
ob-vi - am
37
or - na-tu
non
ca-re
-
0
nup
ti-is
re - gi -is
i
-
do-ne
o.
quam
SUSAN
A.
KIDWELL
87
Table 4
Treatment of Phrasing in Dupla Voices
Motet Group:
Control Group:
Avg. Length
(in TL units)
Average No.
of Phrases
No. ofExx. with
Regular Phrasing
81.6
65.2
13.7
12.0
6/55 (10.9%)
20/103 (19.4%)
control group that have regular phrasing (defined as clausulae in which
more than eighty percent of their dupla phrases are the same length) are
more than double the number of those in the motet group. Presumably,
the combination of regular line lengths and consistent rhythmic patterning would support extremely regular poetry in terms of line lengths and
text declamation. Therefore it seems significant that whereas only one
motet source combines regular phrasing with a high level of modal purity,
nearly half of the control clausulae feature such a combination. IS This suggests that motet composers not only wanted a meaningful number of
phrases with which to work, but also that they were more interested in
contrast and irregularities of design than in writing regular poetry. If the
latter were the case and a "conductus-like" text with uniform line lengths
was considered ideal, why did composers overlook so many clausulae with
regular phrasing as sources? They seem to have perceived their new genre
as something different from the conductus.
The manner in which a motet text is communicated is also affected by
the nature of phrase endings in the clausula model. Example 7 illustrates
six cadential patterns found in the selected repertory. The full cadence
features simultaneous closure in both voices (exx. 7a.1-7a.3). Occasionally, these cadences are extended by the use of a plica or longa florata
in the duplum that requires transcription of the following tractus as a
breath mark (exx. 7b.1-7b.2). In effect, this weakens the sense of closure
by providing for musical continuity between phrases. The half, implied,
and "feminine" cadences are only found in clausulae that mix ternary-long
with either long or breve rests. In the half cadence (ex. 7c), the last pitch
in the duplum confirms the consonance initially established by the tenor
and duplum, whereas in an implied cadence (ex. 7d), the final sonority
suggested by the last pitch in the duplum contradicts that of the initial
tenor-duplum consonance. The "feminine" cadence repeats the cadential
pitch in the duplum, in a manner analogous to a feminine poetic ending
(ex. 7e). In the sixth cadence type, the tenor continues beneath a phrase
break in the duplum, resulting in overlap between the voices (ex. 7f).
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CURRENT MUSICOLOGY
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Example 7: Cadence types.
a) Full cadences (3)
b) Extended cadences (2)
[£]
[!J
[iI
f~. JI~. rJI~ .hr. ~. Ji t.
J1i. 711
m
f~: f". I ~ .•~;. ·~II
.
711
711
c) Half cadence
d) Implied cadence
e) "Feminine" cadence
f) Overlapping cadence
As summarized in table 5, the motet group has an average of three different cadence types per clausula; nearly all of its members have multiple
cadence types per clausula and 34.5% of the motet sources feature more
than three different cadence types. In contrast, one-third of the clausulae
in the control group have only one cadence type. This condition is especially common in clausulae with tenors moving in unpatterned ternary or
duplex longs, and may explain why composers avoided converting clausulae with unpatterned tenors into motets. The control pool also includes
several clausulae that would have been especially problematic to convert
into motets; two clausulae have dupla made up of one continuous phrase
(nos. 15 and 176), and six have constantly overlapping cadences until the
end (nos. 10, 17,27,57, 175, and 228).
If cadences are the musical equivalent of punctuation, then from the
standpoint of texting, it would be logical that the motet group would favor
a greater variety of types. 19 This situation allows for various degrees of closure on a continuum that ranges from the strongest, or full cadence, to
the weakest, or overlapping, type. In effect, a variety of phrase endings offers the possibility of grouping lines of text into larger syntactic or semantic units that are set off by full cadences. As I have shown elsewhere
(Kidwell 1993) and will illustrate in example 9, early motet composers regularly availed themselves of such opportunities to segment their texts.
Conversely, the two extreme approaches found in the control group
would have been unsuitable for texting: a clausula without cadences fails
SUSAN
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Table 5
Comparison of Cadence Types
Motet Group:
Control Group:
Avg. No. of Cad. Types
1 Type Only
>3 Types
2.9
2.0
7/55 (12.7%)
34/103 (33.0%)
19/55 (34.5%)
9/103 (8.7%)
to convey any sense of punctuation whereas a clausula with only one cadence type lacks the hierarchical means to differentiate strength of closure and therefore to group lines into larger semantic units.
A good clausula source, then, is one that provides the motet creator
with one or more means to differentiate units of text: contrasting patterns
of declamation, varied phrase lengths, or a hierarchy of cadential patterns. A close examination of two complete clausulae will demonstrate
how the various stylistic elements interact and will further illustrate stylistic
differences between the control and motet groups.
Clausula no. 99, representative of the control group, appears below as
example 8. This setting of Latus est from the Easter Alleluia Pascha nostrum
(M 14) combines a first-mode duplum with a fifth-mode tenor. Its overall
length of seventy-four ternary-long beats could have provided a composer
with enough material to support a meaningful added text. However, it has
other attributes that are atypical of motet sources. It has a modal purity
level of 83.1 %, which exceeds the norms for both the motet and control
groups. The phrase organization of this Latus est clausula is also quite regular: it has eight phrases of eight ternary-long beats before a phrase of ten
beats leading to an organal conclusion (example 8 omits this organal ending because motet composers typically stopped texting just before such
concluding flourishes). It should also be noted that the tenor and duplum
cadence together with a full (or masculine) ending for all nine phrases.
This composition may well have been considered a good clausula in its
time. In fact, its regularity and periodicity may reflect the influence of
Perotinian style, and Perotin was regarded by Anonymous IV as the best
composer of discant (Yudkin 1985: 39). A texted version of this model
could have featured regular declamation of thirteen-syllable lines as prefigured by modal purity and uniform phrase lengths, in which case the resulting motet could have approximated a conductus. Yet while many attributes found in this Latus est clausula typify the control group, few
thirteenth-century motets exhibit such regularity.
The representative from the motet group, a clausula based on an Et
gaudebit tenor from the Feast of the Ascension, appears as example 9a.
The Latin motet text, Non orphanum (322), is underlaid for reference. 2o
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CURRENT MUSICOLOGY
64
Example 8: CL no. 99, Latus est (M 14); F, fa!. 158r (control group).
La -
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A.
KIDWELL
91
Example 9a: CL no. 246, Et gaudebit (M 24); F, fo!' 174v (motet group).
te
or - pha-num
si
se - ram
sed
ef
fe-ram
2. si
gau
Et
7
de
Ii
cut
ba - num;
de
r---l
r---1
r---l
,-----,
cut eli
ba
po - flam
te
num
sa
.lu
tis;
4. si
cut
lu
tis
pha -
tim
12
et
or
ga - num
Ie - ti
- e
ti
et
sa
17
E-gy-pti-e
iu
gum ser
-
vi - tu
6. Con - fe-ram
tis.
me
22
tis,
29
7. post
Ja - cri - mas
gau - di - urn,
pre - mi - urn
post
la - bo - ris te - di-
--,
urn.
8. Cum
ie
ro
ve-ni-am.
9. Sub
ve-ni-am,
10. per
gra - ti-
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CURRENT MUSICOLOGY
64
Example 9a (cont.)
36
am
lri - bu - am
ve - ni - am,
11. ce
,--------,
-
Ie - sti - urn
glo - ri - arm_,_ _ __
ci - vi - urn
43
pu
- ram
se-cu
et
-
ram
fi
ef
-
ci - am;
13. car - nis eli - ram
r--------,
48
se-cu-li
re-i-ci
14. In - eli - tus pa - ra - eli - tus
am.
53
tu - urn
cor
do
ce
16, et
bit,
fa -
di
ci - tus;
59
r-
us spi - ri - tus
18. do - mi-no
sic
he
-
re
19. Tu - tus et
bit.
65
20. tll - tus sit
et
ex - i - tus;
cor
pe
-
ni - tus
gao
de
bit.]
bit
in -
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A.
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93
Example 9b: Text for Non orphanum te deseram (322) / Etgaudebit (M 24).
I
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
Non orphanum te deseram sed efferam
sicut libanum;*
sicut clibanum ponam te sa-hi-tis;*
sicut timphanum et organum letitie
et sa-h:i-tis*
auferam Egyptie iugum servitutis.
Conferam me se-cu-tis,
post lacrimas gaudium,
premium post laboris tedium.
Cum iero veniam.*
Sub veniam, *
per gratiam tribuam veniam,
celestium civium gloriam.
Mentem puram et securam efficiam;
carnis curam et pressuram seculi
reiciam.
Inclitus paraclitus
divinitus tuum cor do-ce-bit
et radicitus;
tuus spiritus
domino sic he-re-bit.*
Tutus et introitus
tutus sit et exitus;
cor penitus gau-de-bit*
I shall not leave you orphans but I shall lift
you up like frankincense;
like an oven of salvation I shall maintain you;
like a tambourine and an organ of joy
and of salvation I shall take off
the yoke of your Egyptian servitude.
I shall bestow myself to my followers,
joy after tears,
reward after the toil oflabor.
Although I shall go away, I shall come back.
When I come,
I shall come through grace and I shall bestow
the glory of the heavenly hosts.
I shall cleanse your mind and make it secure;
I shall rej ect the cares of the flesh and the
torments of the world.
The glorious Comforter
will teach your heart divinely
and completely;
your spirit
will thus cling to the Lord.
May both your coming
and your going be safe;
your inner heart will rejoice.
Unlike its control-group counterpart, this clausula has a modal purity level
of 52.8%, which allows for varied text declamation. While some ternarylong extensions of the mode occur in short passages of alternate third
mode (e.g., mm. 24-26 and 35-42), other instances of extensio modi prefigure longer passages of ternary-long declamation (e.g., mm. 9-10 and 1516). In the texted version, the poet-composer took advantage of the
change in modal patterning to emphasize the word "veniam," which is a
direct quotation from the parent chant text. He then used the extended
passages of ternary-long declamation to highlight the repetition of the
word "salutis." Fractio modi also contributes to modal impurity in this example. However, unlike the extreme and consistent fracturing of the
mode found to be atypical of motet sources, the fractio in example 9a occurs on a more localized level of one or two ternary-long beats. This type
of fractio offered the motet composer a bit of flexibility with respect to text
underlay. For instance, he interpreted a ternary-long beat fractured into
three breves (transcribed as eighth notes) in three different ways: as two
syllables in first-mode declamation (e.g., m. 3), as one syllable in extended
declamation (e.g., m. 14), or as three syllables in more rapid declamation
(e.g., m. 49).
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CURRENT MUSICOLOGY
64
The phrasing in the clausula source for Non orphanum is irregular; its
twenty phrases range from four to twelve ternary-long beats in length. The
irregularities in phrasing seem even more intricate due to varied text
declamation within phrases, and due to the alternation between simultaneous and overlapped phrase endings.
The Latin text to Non orphanum (together with a translation) appears as
example 9b. As indicated, lines 3-6, and 15, 18, and 20 have final accents
on the penultimate syllable, while the remaining lines have final accents
on the antepenultimate syllables. The poet-composer was able to achieve
such a mixture of poetic accents in part because this clausula source uses
five different cadential patterns. Penultimate accents fit the feminine ending of line 5 as well as phrase endings such as line 3 that have extended
declamation (marked with hyphens), while the antepenultimate accents
work well with either full (indicated by asterisks), half, or implied
cadences. In addition to this technical aspect of text underlay, the composer of Non orphanum seems to have drawn upon the strong closure of simultaneous phrase endings to show parallels between lines of text. For instance, the full cadences after lines 2, 3, and 4 articulate the succession of
"sicut" clauses; those after lines 3 and 4 serve to reinforce the repetition of
the word "salutis"; and the full cadences after lines 8 and 9 highlight the
quoted text "veniam," which is also emphasized by the contrasting modal
pattern.
By comparing clausulae from the motet and control groups I have identified some stylistic features that might have attracted composers when
converting clausulae into early Latin motets. It appears that the source
clausulae for early Latin two-voice motets distinguish themselves from the
larger repertory of Notre Dame clausulae in terms of their treatment of
modal purity, phrasing, and cadential patterns. These differences suggest
that for the purposes of texting, thirteenth-century composers did not view
all clausulae as equal. Instead, it seems that a variety of practical and aesthetic concerns influenced their selection process. In general, clausulae
that were too brief, were composed of very short phrases or one long
phrase, had too many isolated single notes or rests, had uniform cadences,
or had an excessive amount of modal fracturing rarely served as sources
for early Latin motets. Apparently, these features were impractical and undesirable for texting. Nor does it appear that composers went out of their
way to select clausulae that would be easy to sight read when converted
into cum littera notation; very likely, the preference for internal variety in
the rhythmic declamation would require prior knowledge of the clausula
source's sine littera rhythmic notation. In addition to these practical
matters, stylistic features of the motet source group point to an aesthetic
preference for variety, contrast, and irregularities of design. Since these
SUSAN
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95
features were more pronounced in the motet sources than in the controlgroup clausulae, it appears that "irregularities" in the early Latin motet do
not automatically result from texting clausulae, but instead reflect artistic
choice. 21
It is now worth considering the extent to which these selection criteria
apply to other segments of the thirteenth-century motet repertory. Table 6
provides a comparison of how the parameters introduced thus far apply to
different types of early motets. It presents average values for the motet and
control groups, and then summarizes data gathered for different subgenres of motets. The data reported in table 6 combine statistics already reported for the motet group-which only includes clausulae that were converted into two-voice Latin motets-with additional data for clausulae that
were converted into other types of motets.
As indicated in table 6, twenty clausulae were converted into two-voice
Latin motets but disregarded as sources for French contrafacta or as the
basis for later double motets. 22 Several characteristics may have contributed to the fact that they were not chosen. All but three motets in this
group have unpatterned or fifth-mode tenors; these slower moving tenors
may have lost some of their initial appeal as composers began to experiment with faster tenors moving in first- or second-mode patterns (Baltzer
1995: xliii). The three motets with faster tenor patterns might have been
excluded from further transmission due to their shorter-than-average
overall lengths; Virgo gignit (133) is sixty-two ternary-long beats while
Hostem superat (308) and Quia concupivit vultum rex (529) have respective
lengths of forty-five and twenty-eight beats. In addition, the clausulae selected as models for two-voice Latin motets have lower-than-average levels
of modal purity, marked by a substantial amount of extensio modi. As a result, most of the uniquely two-voice Latin motets have irregularly patterned text declamation, because their texts were underlaid syllabically according to the irregular rhythms of their parent clausulae. This approach
Table 6
Characteristics of Different Subgenres of Early Motets
GrouE/Subgenre No.ofExx.
Control Group
Motet Group
2v Latin motets only
3v Conductus-motets
2v French motets
3v Double motets
103
55
20
24
42
17
MP
FR
66.1%
72.0%
69.9%
74.6%
65.0%
67.1%
15.6%
10.8%
10.2%
6.4%
25.1%
20.6%
Length Avg. No. of
EXT (in TLs) Cad. Types
18.3%
17.2%
19.8%
19.0%
9.9%
12.2%
65.2
8l.6
72.2
92.7
63.2
8l.9
2.0
2.9
2.5
3.3
2.7
3.1
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CURRENT MUSICOLOGY
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to text underlay allowed composers to emphasize selected units of text
and therefore to communicate the meaning of their texts more effectively.
However, while irregular declamation typifies early Latin motets, regular
declamation became characteristic of other subgenres of motets.
Composers turned twenty-four clausulae into three-voice conductusmotets. 23 Many of these compositions were as short-lived as the two-voice
Latin motets discussed above. In fact, less than half were transmitted
beyond the earliest motet sources. However, clausula sources for conductusmotets have some striking differences from clausulae that were only converted into two-voice versions. The clausulae selected for conductusmotets are generally longer and have higher levels of modal purity than
the two-voice motets. This makes them seem more "conductus-like" because they can support longer texts declaimed in a more consistent manner. Somewhat surprisingly, only one of the clausulae chosen to become a
conductus-motet has consistently uniform phrase lengths, which could
have prefigured uniform poetic line lengths. 24 In addition, these clausulae
have a greater variety of cadence types than clausulae in any other group.
This combination of conductus-like and motet-like features attests to the
hybrid nature of conductus-motets, most of which were created before
motet composers had solidified their preference for contrast and irregularities of design and thereby fully distinguished their new genre from the
conductus.
Clausulae selected as models for two-voice French motets also have distinctive features. 25 They tend to exhibit faster tenor modes and a largerthan-average share of second-mode dupla (table 6). As a group, the
clausula models for French motets have moderately low levels of modal
purity due to consistently high amounts of fractio modi. Since the standard
procedure for texting fractured rhythms is to use neumatic text underlay
corresponding to the modal rhythmic pattern, high levels of fractio modi
typically result in modally regular text declamation. In terms of overall
style, high levels of fractio modi and regular text declamation are characteristic of newly composed French motets, such as those found in W2, fascicle
10, and of Latin contrafacta of French originals, such as those found in
the appendix to the third Latin alphabetical series in W2, fascicle 8. 26 The
present study indicates that stylistic differences between early Latin and
early French motets may stem in part from the "pre compositional" act of
clausula selection, which was itself most likely influenced by different approaches to text underlay.
As shown in table 6, only seventeen clausulae were transformed into
later thirteenth-century double motets, with independent texts for the
motetus and triplum voices. 27 What factors led composers to use these
clausulae as the basis for sophisticated double motets while ignoring
SUSAN
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97
countless other potential models? Their overall lengths and number of
different cadence types are close to those for the motet group as a whole.
However, since many of these clausulae were converted into two-voice
French motets as well as three-voice double motets, they have a higher incidence of second-mode dupla, higher levels of fractio modi, and lower
amounts of extensio than the motet group overall. These features, combined with the presence of three clausulae in relatively pure third mode,
result in fairly regular or "patterned" text declamation. In fact, as summarized in table 7, ten of seventeen clausula-based double motets feature patterned text declamation in at least the motetus voice.
Undoubtedly the clausulae listed in table 7 possess additional features
that composers found appealing and worth preserving into the later thirteenth century. Many of them seem exceptionally tuneful, in part because
of the presence of melodic repetition. Others may have enjoyed continued popularity on the basis of their texts. However, one additional factor
seems striking: As indicated by table 7, eight of the seventeen clausulae
that were transformed into double motets had three-voice clausula sources
and/ or prior conductus-motet versions. The texting of a prior three-voice
model was an uncommon procedure. More typically, composers created a
Table 7
Clausulae Converted into Double Motets (additional parameters)
Motet
Patterned Declamation
Prior a3 Version
x
CondMot
X
X
CL, CondMot
Ad solitum vomitum (439)
Au doz tens (343)
Ave Maria fons letitie (230)
Clamans in deserto (379)
De virgula veris (112)
Ex semine Abrahe (483)
Flos de spina (437)
Gaude Syon (632)
In Bethleem Herodes (98)
Mens fidem seminat (495)
Non orphanum (322)
Qant voi Ie douz (235)
Qui amors veut (218; Tr)
Tanquam suscipit (636)
Trop m'avez (396)
Velut stelle (315)
Veni salva nos (360)
X
CL, CondMot
CondMot
X
X
X
X
X
CondMot
CL
CL (triplum missing in ms.)
CondMot
X
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three-voice motet by adding a newly composed triplum to a preexisting
two-voice foundation. Furthermore, many of the motets generated by
adding new text to a three-voice model are exceptional in terms of style as
well as in terms of compositional process. For instance, later composers
converted Ave Maria fans letitie (230) and Ex semine Abrahe (483) into double motets by adding text to the tripla of their earlier conductus-motet versions. As a result, both motets feature parallel phrasing between their
motetus and triplum voices, a fairly homogenous rhythmic style, and for
the most part, simultaneous text declamation. This contrasts with the
more typical style associated with double motets: overlapped phrasing,
rhythmic contrast, and more distinctive text declamation.
Mens fidem seminat (495) illustrates a somewhat different situation. Mter
its early history as a two-voice Latin motet, composers turned Mens fidem
into three-voice bilingual and French motets by simply adding text to the
triplum voice of its preexisting three-voice clausula source. While the
sources for Ave Maria and Ex semine were adapted into conductus-motets
because they have parallel phrasing in the upper voices, the In odorem
(M 45) source for Mens fidem has overlapped phrasing between the upper
voices and would not have been suitable for conversion into a conductusmotet. The three-voice textings of this clausula are therefore closer to the
expected style of a double motet because they feature contrasts in phrasing and declamation.
The composers of at least four motets with preexisting three-voice versions replaced the extant tripla with new ones: In Bethleem Herodes (98),
Velut stelle (315), Flos de spina rumpitur (437), and Ad solitum vomitum
(439).28 While the triplum to Ad solitum vomitum generally moves with the
motetus in note-against-note counterpoint,29 the other three motets exhibit significant degrees of musical independence between the upper
voices.
The fact that clausula sources used as the basis for later thirteenthcentury motets differ from those chosen for the earliest motets underscores the significance of clausula selection. By texting clausulae with irregular modal rhythms and variable numbers of phrases and cadential
patterns, composers of the earliest Latin motets defined their new genre
as something different from the clausula and the conductus. Composers
seem to have been attracted to a different type of piece when creating
double motets; in general, they seem to have preferred clausula-based
motets with more regular rhythmic patterning and/or text declamation in
the motetus voice. While double motets feature greater regularity within
individual voices, these individual voices combine in highly sophisticated
ways due to the independent nature of their texts, rhythmic profiles,
phrasing, and cadential points. The resulting combination of voices often
SUSAN
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sounds "irregular" due to its polyphonic, polytextual complexity. In effect,
the composers of later thirteenth-century double motets transferred an
established preference for irregularity and contrast from the horizontal
dimension (within the motetus voice) to the vertical dimension (between
motetus and triplum voices). Thus reinterpreted, the aesthetic foundation
established by composers of the earliest Latin motets continued to shape
the subsequent development of the genre.
Notes
* A shorter version of this paper was read at the annual meeting of the
American Musicological Society in Pittsburgh, in November of 1992. I would like
to thank Rebecca Baltzer, Mark Everist, Thomas Payne, Darwin Scott, and Michael
Tusa for their helpful comments and suggestions.
l. In many cases, these pieces exist in multiple versions, raising serious questions about authorial intentions. Some scholars, inspired by recent trends in literary criticism, would undoubtedly prefer to avoid any discussion of compositional
process because it privileges the position of the author-obviously problematic in
the largely anonymous repertories of medieval music-over that of the reader.
2. I will use the term "composer" in the medieval sense: someone who puts
something together-in the case of the early Latin motet, the person who converted a clausula into a motet by adding text. Everist (1994: 6) offers a fuller justification for using the term "composer" when discussing the creators of medieval
motets.
3. The three principal collections of this repertory are: (1) WI: Wolfenbiittel,
Herzog August Bibliothek 677 (olim Helmst. 628), (Baxter 1931); (2) F: Florence,
Biblioteca Laurenziana, Plut. 29.1, (Dittmer 1959); and (3) W2: Wolfenbiittel,
Herzog August Bibliothek 1206 (olim 1099), (Dittmer 1960). For a guide to the
contents of these sources, see Ludwig 1910 and Reaney 1966. Baltzer (1974) has
classified the two-voice clausula repertory by tenor mode: 37 clausulae in mode 1
(22-23),38 in mode 2 (87-88),14 in mode 3 (139), 167 in mode 5 (227-35), ca.
320 in unpatterned ternary longs (311-24), ca. 330 in unpatterned duplex longs
(360-75), and 47 in other categories (311-24,360- 75). These figures add up to
ca. 953.
4. Smith (1980) includes a useful inventory of the 107 clausula sources used as
models for 247 motets. This inventory provided the basis for the current study.
5. Transcriptions of all clausulae are available in a recent edition by Baltzer
(1995), who also provides an excellent summary of clausula style and chronology
(xlii-xlvi) .
6. Tenors are identified in table 1 and throughout this paper according to the
traditional system established by Ludwig (1910). M, 0, and BD prefixes identify
tenors drawn from Mass, Office, and Benedicamus Domino chants, respectively;
tenors are then assigned numbers based on the liturgical order in which they
are used in the church year, with chants for the Temporale (beginning with
Christmas) preceding those for the Sanctorale. Motet numbers, also established
by Ludwig (1910), were assigned in the order of their parent tenors. Clausula
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CURRENT MUSICOLOGY
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numbers used in table 1 and throughout this paper correspond with those in
Baltzer's edition (1995) and differ slightly from the traditional clausula numbering established by Ludwig (1910), again based on the liturgical ordering of their
tenors; for clausulae 59-236, Baltzer's numbers are one lower than those used by
Ludwig.
7. Supported by descriptions of compositional process by medieval theorists,
analytical studies of the motet all recognize the impact of the tenor on the polyphonic structure. Hofmann (1972) systematically explored this issue by examining
the harmonic, tonal, melodic, and rhythmic implications of the cantus firmus with
respect to motets based on the In seculum tenor from the Easter Gradual Hec dies.
Crocker (1990: 641) provides a more recent discussion of why certain tenors were
favored as motet sources.
8. Apel uses the term extensio modi without reference to a source, but cites
Anon. N as the basis for fractio modi (1953: 234-35). Smith cites Johannes de
Garlandia's description of how to notate fractio modi using either plicas or fournote ligatures (1990: 284).
9. All transcriptions are my own, based on Dittmer's facsimile editions of manuscripts F and W2. For published transcriptions of all clausulae in the Florence
manuscript as well as detailed summaries of variants between other manuscript
readings, see Baltzer (1995).
10. Infidelem populum has a modal purity level of 95.0% while Deus omnium exhibits 83.3% purity. Hereafter, motet incipits will simply be followed by their standard catalogue numbers for reference.
11. See Deo confitemini (131; 83.3% modal purity), Laudes referat (140; 86.1 %
modal purity), and Gaudeat devotio (215; 86.1 % modal purity).
12. For some of the most recent discussions of the conductus, see Page 1997
and Traub 1995.
13. For a modern edition of the text for Infidelem populum, see Blume and
Dreves 1906: 241; for an edition of Auctor vite, see Anderson 1981: 3: xxii.
14. For more on rhythmic poetry, see Fassler 1987 and Sanders 1995.
15. The irregular reading of the five-note currentes figure in mm. 8-9 was
adopted from Baltzer 1995: 82.
16. For more on this point, see Kidwell 1993: 181-95.
17. The text to Ad solitum vomitum (439) is constructed in a similar fashion to
accommodate the 98.6%-regular third-mode patterning.
18. The clausula source for Deus omnium (444) has a first-mode duplum with a
modal purity level of 83.3%; the duplum is also organized into completely regular
six-beat phrases. Clausulae in the control group that combine regular modal
rhythm and regular phrasing include nos. 30, 48, 87, 99, 138, 175, 189, and 241.
The vast majority of these clausulae have third-mode dupla.
19. For more on the relationship between music and grammar, see Bower 1989.
20. The actual text underlay varies slightly from that shown in example 9, due
to minor variants introduced in the conversion from clausula to motet. For a transcription of the motet as it appears in the Florence manuscript, see Kidwell 1993:
481-83. For an alternative transcription based on the manuscript reading in W2,
see Anderson 1976: 162-66.
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A.
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21. Sanders provides a clear statement of the more mainstream but alternative
viewpoint: 'The musical phraseology of most clausulas and Notre Dame motets,
while carefully planned, exhibits no regularity.... Since the versification has to accord with the musical phrases of the pre-conceived clausula (or discant section), it
cannot be regular. Irregularity of verse structure thus became a hallmark of the
13th-century motet, as the primary measuring tool was the pre-conceived music
with its varied phrase layout' (1980: 12:618).
22. Clausula sources for the following two-voice Latin motets are summarized
in table 6: motet nos. 43, 133, 141,234,244,308,309,310,442,443,444,487,490,
505,516,518,529, 655, 697, and 698.
23. Clausula sources for the following conductus-motets are summarized in
table 6: motet nos. 70, 98, 108, 131, 140, 215, 228, 230, 232, 307, 313, 315, 337,
345,411,437,439,441,483,517,524,635,643,and 762.
24. The clausula source for Homo quam sit pura (231) has a 94.1 % reliance on
four-beat phrases.
25. Clausula sources for the following two-voice French motets are summarized
in table 6: motet nos. 8, 48a, 54, 55, 62, 63, 79, 100, 102, 104, Ill, 115, 122, 132,
135, 165, 233a, 235, 249, 250, 307a, 314, 319, 328, 339, 343, 344a, 370, 380, 397,
402,406,413,415,419,485, 515a, 634, 641, 663, 764, and 817 (528e).
26. For transcriptions of these works, see Tischler (1982) and Anderson (1972,
1976).
27. Clausula sources for the following Latin motets, later converted into double motets, are summarized in table 6: motet nos. 98, 112, 218, 230, 235, 315, 322,
343, 360, 379, 396, 437, 439, 483, 495, 632, and 636.
28. It is impossible to comment on the conversion of a three-voice Tanquam
clausula into the motet Tanquam suscipit (636) because the triplum to the clausula
source was never entered into the Florence manuscript (Dittmer 1959: fol. IOv).
29. Baltzer (1974: 140-41) has pointed out that the use of note-against-note
counterpoint is typical of third-mode clausulae.
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